Contemporary

In the twentieth and 21st centuries Indigenous musicians have played a vital role in defining Australia’s contemporary music identity, in building bridges with the broader Australian community, and in actively contributing to our cultural expression internationally. Contemporary indigenous music embraces all genres from folk and roots to blues, rock, pop, hip hop and classical forms.
Key events on the Indigenous music calendar include:

Folk, bush and country music

Folk music, often handed down in oral form, has existed in Australia since our colonial days, and many local communities have folk clubs and folk festivals. There are over 50 folk festivals in Australia. Over the years Australian folk traditions have been enriched by multiple human cultures, including Celtic, Gaelic, Greek, Macedonian, Klezmer, Pacific Island, African, and Asian cultures. Bush and country are variants of country music, drawing on rural themes and traditions, telling stories through music of life, love and longing.
Key events on the national calendar:

Contemporary popular music

Rock and popular music have an almost limitless number of genres and sub categories. Some of the better known types are: alternative, country, electronic, folk, funk, grunge, indie, hip hop, pop, progressive rock, punk, R&B, rock, ska, and soul. Each can have many sub categories (heavy metal music alone has over a dozen variants), and hybrid forms abound. These multiple genres and types provide a niche for every taste and type of music lover.
Australia produces great music in all of these categories, and we are particularly known for our indie (independent) and alternative scenes, historically a function of being a small country distant from major markets. Australia continues to have an active live music scene despite impacts such as gentrification on many venues, regular tours of national and international acts, and multiple music festivals. There is a large range of professional associations, rights collection bodies and development agencies in this sector. You can access information on these organisations in our music industry section.
A selection of great Australian pops songs, artists and recordings can be found below.

Festivals form a major part of Australian rock and popular music culture. Major festivals on the Australian calendar include:

Splendour in the Grass

Big Day Out

Laneway Festival

Good Life

Soundwave

The Falls Festival

Good Vibrations

Future Music Festival

Groovin’ The Moo

Golden Plains

Laneway

Meredith Music Festival

World, roots and blues music

These styles are music rooted in a particular tradition or place. Songs may be sung in original languages, and the music can be stylistically distinct. World music generally describes non-western music drawing on cultural traditions which can combine with Western popular and other forms. Traditional forms include Serbian Sevdah; Portuguese Morna; Spanish Flamenco; American Bluegrass, Cajun and Zydeco; Latin American Salsa and Tango; Jewish Klezmer, and West Indian reggae. World music can also include classical music from beyond the West including Indian. Japanese, Chinese and other Asian styles.
Key events on the national calendar:

Jazz music

With its origins in African America, jazz is an artform that bridges art and popular music. Often improvised, it ranges from traditional styles including swing and Dixieland, to highly original forms of contemporary art music. Australia has a small but high quality jazz scene, with a number of respected city venues, jazz clubs in major centres around the country, and a large number of festivals. The annual Freedman Jazz Fellowship provides a good barometer of quality jazz musicianship.
Key resources for jazz in Australia:

Classical and art music

Australia has a rich tradition of Western classical music with professional orchestras in every capital; an active chamber music, small ensemble and choral sector; and four professional opera companies. These are complemented by state youth orchestras, and hundreds of community based choirs, orchestras and ensembles.
Classical music in Australia is derived from our European history and traditions. It is generally notated, written for specific instruments, and follows defined structures. Contemporary classical or ‘new music’ does away with and redefines some traditional approaches. Classical music has multiple forms, some of the best known of which are early or medieval music, baroque, classical, romantic, contemporary and new music.

Orchestras

In Australia, as in other countries, orchestral activity is at the heart of Western classical music. Orchestras reach the largest audiences, provide the most reliable employment for classical performers, and are often synonymous with the cultural identity of a city. There are over ten professional orchestras in Australia and many excellent part time professional orchestras and a few pro-am orchestras. All present regular concert recitals, and many collaborate with other companies, release recordings, tour, and run workshops. In addition, dozens of youth and community orchestras present concerts around the country.

Professional orchestras

Symphony Orchestras
The six major state capital cities each have a full-time orchestra, originally established and owned by the ABC (Australian Broadcasting Corporation). Over a period of years in recent times these orchestras moved apart from the ABC and by 2006 were all totally independent and locally owned. So named because they retain sufficient numbers and ability to play the great symphonic repertoire, a symphony orchestra can have up to 110 players on stage, more for some repertoire. These orchestras each give subscription programs in their home states, support local and visiting productions, tour regionally, and run extensive education programs.
These orchestras are:

Pit Orchestras
There are also two full-time pit orchestras, so named because they perform in the orchestra pit in front of the stage of large theatres, who support the national opera and ballet companies, Opera Australia and the Australian Ballet. They are:

Owned and operated by Opera Australia, Sydney’s Australian Opera and Ballet Orchestra gives some 175 opera performances, and over 80 ballet performances. Orchestra Victoria is a subsidiary of the Australian Ballet and performs for The Australian Ballet, Opera Australia, Victorian Opera and The Production Company in Melbourne.
Chamber and Part Time Orchestras
The Australian Chamber Orchestra (ACO), was established in 1975 by its musician members and is led by violinist Richard Tognetti, who has been at the helm since 1989. Several group members play on remarkable and rare 17th century stringed instruments. This full-time group tours extensively nationally and internationally, presents varied and adventurous programming, and has built a stellar international reputation for the quality of their work.
As their name suggests the Australian Brandenburg Orchestra specialise in, but are not limited to, music of the Baroque period. This Sydney based group led by Paul Dyer play on period instruments, perform nationally and regionally and have released sixteen recordings with ABC Classics include five ARIA Award winners for Best Classical Album.
Canberra Symphony Orchestra (CSO) performs its concert series in Llewellyn Hall, Australian National University. It has grown from grass roots beginnings in 1950 to being a fully professional part-time orchestra for the Nation’s capital. It offers an annual subscription program and a number of well received matinee and outdoor concerts and an Annual Prom at Government House, Yarralumla.
The Darwin Symphony Orchestra (DSO) is based in the remote capital of the Northern Territory, Darwin. It draws its membership from the professional, semi-professional, student and amateur musicians in Darwin. It stages regular annual concerts on an annual basis and tours to remote locations including Arnhem Land and Groote Eylandt, as well as Alice Springs, Tennant Creek and Katherine.
Other part time orchestras in Australia include:

Youth Orchestras
Youth orchestras are community-based rather than school-based, play a key role in the development of young payers, and can provide a pathway to professional career as a performer. The Australian Youth Orchestra (AYO) is a national youth orchestra, whose members are selected through national auditions. It performs nationally and tours internationally. Each of the major capital cities has a youth orchestra association that manages one or more orchestras. These orchestras meet year-round. The best orchestras in each of these associations are of very high standard. Apart from the AYO they are:

Community Orchestras

Music Australia has estimated there are well over 100 youth and community based orchestras in Australia. Our research has shown this to be diverse and creative sector embracing all age groups and playing a wide range of music. Read more about community music.

Chamber Music

Chamber music is small scale classical music, designed historically for intimate settings, or ‘chambers’, and popular instrument combinations are trios, quartets and quintets. Australia’s leading chamber music organisation is Musica Viva Australia, a national presenting and touring organisation with a network of local branches. Performances are presented also at public and conservatorium recital halls and by some performing arts centres and independent presenters.
Professional ensembles presenting chamber music include:

the Australia Ensemble

Australian String Quartet

Camerata of St Johns

Goldner String Quartet

Selby and Friends

Southern Cross Soloists

Early Music

Early music generally refers to music up until around 1800, and is often played on period instruments of the time. Repertoire includes music from that period, and there is also contemporary music composed for early instruments. Early music groups in Australia include:

New Music

New music is contemporary classical or art music composed in the 20th and 21st centuries. Sound art and computer generated music are related genres. Australia has a large number of high quality ensembles, many focusing on performing works by Australian composers. Sydney based New Music Network lists some twenty new music groups in Sydney and elsewhere. In West Australia Tura New Music presents concerts, tours outback WA and presents the biennial Totally Huge New Music Festival.

Opera

Opera is the largest and most dramatic of the classical music artforms. Opera in Australia is based on the rich European traditions with its origins in the Renaissance period. It is highly complex, and can involve vocal and instrumental music, poetry, drama, dance and visual arts. A professional opera production of classic repertoire can involve more than 200 people on and off stage, ranging from highly trained soloists and choristers to dancers, actors, other performers, stage technicians, support staff, and an orchestral accompaniment.

Professional Opera Companies

Australia has four professional opera companies based in the five mainland state capital five cities. Like orchestras, opera companies play a vital role in sustaining classical music, are the main source of employment for classical singers, and generate significant employment for performers and other creative and technical professionals. Each presents main stage productions in their home cities, which include Sydney and Melbourne, for Opera Australia; often engage in collaborations with each other, with overseas companies, with other ensembles and artists, and with festivals; take smaller productions on tour and maintain education and outreach programs.
Australia’s four professional companies are:

Choral music

Choral music can involve large numbers of voices and in Australia is, unsurprisingly, mainly an amateur activity. Standards however can be very high and the main choirs in the large cities and many major regional centres, perform complex repertoire of high standard. The opera companies retain professional choruses and there are some smaller professional vocal ensembles such as The Song Company and now, The Australian Voices. Children’s choirs in the large cities, some of very high standard such as Gondwana Voices, the national children’s choir. Some of the children’s choirs have been active in commissioning Australian repertoire. The Australian National Choral Association provides further information.

Community Choirs

Music Australia has estimated there may be over 1,000 community choirs in Australia. Our research has shown these groups to be strongly engaged in local communities, with skilled leadership, and a real interest in performing Australian material. You can access more information on community choirs. in our community section here.

Festivals

Almost all the major capital city festivals include classical music, often experimental music, including:

Competitions

Competitions can be important in establishing the career of a young concert performer. The best known high level international competitions are the Melbourne International Chamber Music Competition and the Sydney International Piano Competition. The ABC’s Young Performer Awards is a respected domestic competition.
There are many classical music awards in the eisteddfod competitions in the big cities and regional centres. Eisteddfod often play a central role in the cultural life of a regional community. Eisteddfod Australia provides listing of eisteddfods around the country.

You can access more information about different types of Australian music here:

89% think the arts should be an important part of the education of every Australian

Unfortunately, this is not the case, and many music students miss out on music education as part of their schooling.
Recent History
In 2004, in response to pressure from music educators, the Australian Government undertook the National Review of School Music Education which was published in 2005. This report was widely supported at the time with close to 500 submissions received and over 5,000 petitions in support. This report noted that:

Raising the quality and status of music education will have a positive impact on the breadth and depth of aesthetic, cognitive, social and experiential learning for all Australian students and, ultimately, for our society at large.

The National Review provided an excellent blueprint for improving music education in Australian schools. While some recommendations have been implemented including campaigns to increase status for music, strengthened enrichment programs, and more teachers in some schools, a decade on there is still much to do.
Achievements
The status of music in many schools has been raised by advocates and researchers who demonstrate the many benefits delivered by music education, through their excellent work. Music Australia’s Music: Count Us In program has reached millions of students across Australia, and each year more than 2,000 schools and 500,000 students participate in what is now Australia’s biggest school music participation program. Almost all Australia’s major performing arts companies provide rich education programs offering arts experiences to over half a million students annually. Many other companies and artists also tour schools with performances, workshops and residencies, and provide resources that offer further music enrichment to thousands more students.
Free digital resources are available to schools and teachers through the national digital resource collection managed by Education Services Australia which has over 18,500 resources aligned to the Australian curriculum.
Some States have good state school music education provision. Queensland, for example, has 950 primary music specialists and instrumental teachers working in their schools, and music education is provided in 87% of State schools. In 2014, the Queensland Government announced funding for an additional 16 specialist music teachers to build on a program they see as integral to school education.
Other States, such as Victoria provide specialist instrumental music teachers and programs in some state schools, which can be supplemented on a user pays basis, generally with fees paid by parents. The majority of Australian independent schools have an effective music program, and in the public sector many parents ensure provision for their children by paying for private music instruction.
To learn more about Parental Engagement, visit our Music At Home resources.
Professional Learning
In States where music specialists are not provided, there are countless opportunities for generalist teachers to access professional learning or professional development in music. With the right training, and enough practice, teachers can become wonderful enablers of children’s creativity and musicality. Music Australia offers professional development to all registered teachers through Music: Count Us In, aimed at a generalist level but with extension activities for those with some experience. With downloadable resources, video conferencing, live streamed workshops and face-to-face sessions with experienced music educators, all teachers can develop their skills, free of charge. Other wonderful organisations offering professional learning and development in music can be found in our Australian Music Directory.
The Work To Do
The Music to Our Ears report, produced by Music Australia and the Caledonia Foundation provides some disappointing data about the reality of music provision in Australian schools:

63% of primary schools offer no classroom music

34% of secondary schools offer no classroom music

Only in the states of Queensland and Tasmania is music a part of the primary school curriculum in government schools and taught by specialist music teachers

Less than a quarter of government schools (primary and secondary) offer a program that would meet the standard of music education in the National Review

Over three quarters of independent schools meet this standard

Clearly there is a huge amount of work to do and achieving the goal of providing all students with the opportunity for a music education is hugely ambitious. However, music educators, advocates and many professionals, parents and principals are passionate about the difference music can make to a young person’s life and are determined to work towards that goal.
So how could it be achieved? We have identified four key areas:

Increase the number of specialist music teachers in primary and secondary schools

Increase the number of primary teachers able to teach music

Increase professional development for the existing teacher workforce

Increase enrichment programs to strengthen music education in schools

Music advocates believe that, if implemented, these measures will:

Contribute to a better trained and more valued teaching workforce

Deliver specific behavioural, cultural, academic and economic benefits to students

Deliver a range of benefits to schools and communities

Improve Australia’s national education position and outcomes.

The Australian Curriculum: The Arts was completed in 2013 and is set to be introduced in each state and territory over a number of years. The five subject areas are music, visual arts, dance, drama and media and it is structured in five stages.
As we near 10 years since the National Review of Music, Music Australia is committed to developing comprehensive data about the state of play for music education in Australia. Our Education Advisory Group has commenced research in order to renew our advocacy and activities in this space.

2. The P & C sub-committee

School P & C groups can create ‘ad hoc committees’ (for special activities), or ‘standing committees’ (where there is an ongoing role, such as a Canteen Committee or Band Committee). In NSW public schools, for example, the insurance covering P & C groups will cover most activities or P & C subcommittees and there are existing procedures and structures. For example, a Principal is automatically a member of the P & C association and its subcommittees although they cannot veto or censor its discussions. Check with your local P & C groups for more information about creating a sub-committee.
Ashbury Public School has a ‘band committee’ which is formally a sub-committee of the P & C; it has its own committee, treasurer, president, secretary and other positions, its own meetings and agenda. In other schools we have heard of a ‘Friends of Music’ group being established with short meetings before regular P & C meetings, to attract the ‘active’ parents that tend to go to meetings anyway. This group became so popular that it soon outnumbered the P & C meetings! Its approach was not to ask parents to fundraise but simply to support musical activities such as concerts and tours in other ways.

3. The community committee

In East Gippsland an organisation was established in the community, called Performing Arts Victoria East (PAVE) specifically as an umbrella organisation to support community music and to establish music programs in local schools. In Bellingen on the NSW Mid-North Coast, the Bellingen Music Association is linked to both the school and the local youth orchestra, fundraising and organizing support for both. The Dandenong Ranges Music Council is an exemplar example of ‘mutual collaboration’ between schools and the community, as described in the major “Sound Links” research project and our own case study.

4) The informal parent group

Another option is a less formal group of parents to support musical activities in the schools. This might be appropriate where a particular activity (eg. A band tour, school musical, or a new ensemble) needs parent support but doesn’t warrant a formal structure.

Parent Advocate Model

A good example of this model is the Parents Understanding Asian Literacy program, an initiative of peak parent bodies (ACSSO and APC) to promote Asian language education through parent advocacy. The campaign recognises that information alone cannot change the culture of a school and that people need to take the initiative to make the case for changes in the school. The Parents Understanding Asian Literacy project is resourced to provide half-day training to 2-3 parents from 75 schools. Music Australia isn’t currently offering training on this scale but we are happy to chat to parents who would like resources and support to become better advocates.
For more information on this approach, visit the Parents Understanding Asian Literacy website.
This approach may be related to the school P & C (or P & F).

Print the Music to Our Ears report and hand it to your school principal, a parent or teacher in the school community, or a local politician. The report is designed to be easy to read and, equally importantly, easy to skim through for those wanting to pick up some key points.
If you would like the report in an alternative format, please contact Music Australia.

2. Talk to your P & C about music

3. Write or talk to your local state and/or federal MP asking them to support music in the school

We need members of parliament to hear the case for music education as often as possible. Speak to your local MP about your passion for music education, invite them to a school concert or encourage your school to sign up to Music: Count Us In, then invite your MP to Celebration Day! They may not be able to start a band at the school, but they do have a role to play.

4. Set one achievable goal for this year that will stimulate action or improve the program

You might want to:

fundraise for a specific purpose, such as much needed equipment

form a P & C sub-committee that will work towards starting something new (eg. A music tuition program, annual fundraising activity) in the following year

organise a special event or tour for the school’s music ensemble/s

take part in Music: Count Us In and get the local media to come to the school to raise its profile

find one program that suits your needs that the school can take part in for the first time (there are many: visit our Australian Music Directory for more information)

5. Do some research

If you are a parent, informal parent group or P & C committee and you would like to do more to support music in school, start by asking a few questions. Ask parents, teachers, community members and/or the school Principal.
You could start with a distinction between what happens inside and outside the classroom. Some schools use the term ‘Extra-Curricular’, others ‘Co-Curricular’, some just have ‘A band program’ or ‘A string group’. While there is and ought to be some overlap, these can be very different and require different kinds of support.

Year 3 – 4

Individual Instruments: Year 3 is a good starting age for ‘band instruments’, ie. Woodwind, Brass and band Percussion. At this age, Flute, Clarinet, Alto Saxophone, Trumpet, Trombone, Euphonium, French Horn and Percussion can be taught. Violin, Cello and Piano, Ukulele are also appropriate, as above.
Groups: Classroom/group singing and appropriate percussion (eg. Orff instruments), Ukulele and Recorder groups are suitable for this age group.

Year 5 – 6

At this age, some additional instruments become more suitable as children get bigger. For example, Tuba (larger than a Euphonium), Tenor and Baritone Saxophone (larger than an Alto Saxophone). All of the main instruments in the string family can played by children at this age, although Double Bass may only be suitable for taller children.
Instruments: Violin, Cello, Viola, Double Bass (tall students), Flute, Clarinet, Saxophone (Alto, Tenor, Baritone), Oboe, Bassoon (tall students), Trumpet, French Horn, Trombone, Euphonium, Tuba, Percussion, Guitar, Bass Guitar
Groups: Classroom/group singing and appropriate percussion (eg. Orff instruments), Ukulele and Recorder groups are suitable for this age group.

Secondary School

Any instrument.

Instrument Choices:

Piano

Piano is a great first instrument, teaching a child to use their eyes and ears and recognise patters. After learning piano for 2 years, children often start a second instrument with a flying start. For 4-8 year olds, group keyboard lessons are common. Some teachers find that technical progress is slower but motivation can be greater. Keyboard/Piano can be taught in a group environment to any age group, obviously with some limitations compared to individual tuition.
Ensembles: Pianists are rarely required in instrumental ensembles. Pianists might play percussion in ensembles, or learn a second instrument (string, wind or brass).

Strings

Violin is one of the classic instrument choices for young children, along with Piano. Other instruments become more suitable as children grow, partly due the size of the other instruments (Viola, Cello, Double Bass). These instruments are sometimes taught in groups to younger students but generally involve private tuition. It is possible for young school-aged children to learn guitar. Bass guitar is suitable for students from year 3 onwards. All of these instruments come in different sizes (1/2, 3/4, etc) appropriate to different children.
Ensembles:

Guitar is used in guitar ensembles, jazz ensembles, rock bands and so on but generally isn’t found in a concert band or orchestra, and these ensembles are more common in Secondary School.

Bass guitar is used in the same ensembles as guitar, with the addition of concert band which is more common in Primary School.

Bowed string instruments (Violin, Viola, Cello, Double Bass) are used in string ensembles and orchestras but not in concert bands.

The Ukulele looks like a small guitar but is (traditionally) tuned differently and has only four strings. It is becoming more popular in schools and among adults because it is small, affordable and relatively easy to learn. Ukuleles can be played in groups but generally aren’t found in the school ensembles mentioned above.

Woodwind

The common instruments in the woodwind family are used in orchestras, concert bands, brass bands, jazz bands and other instrumental ensembles. In a primary school band program the most popular instruments are Flute, Clarinet, Alto and Tenor saxophones, followed by Baritone Saxophone, Oboe and Bassoon which are less common but also appropriate for older Primary School-aged students.
There are four common instruments in the saxophone family (highest to lowest pitch): Soprano, Alto, Tenor, Baritone. Typically students will start on Alto or Tenor but may add another saxophone in secondary school. Baritone saxophones are bigger and more expensive, students will often begin by trying an instrument owned by the school.
Recorders are still a popular classroom instrument and come in a range of sizes. Some students will continue to play recorder with individual lessons and/or play in a recorder ensemble.
Many woodwind instruments share similar fingering and technique so it is possible to switch between instruments, for example from Clarinet to Saxophone. There are a number of less common woodwind instruments (Piccolo, Cor Anglais, Bass Clarinet, Contrabassoon) which are generally taken as an additional instrument at the suggestion of an instrumental or ensemble teacher.
Ensembles: All of the woodwind instruments listed above are used in concert bands and orchestras, other than saxophones not being standard orchestral instruments and recorders not being standard instruments in either. Some school groups will accommodate saxophones in an orchestra. There are a range of other ensemble options, such as flute groups, saxophone quartets and so on.

Brass

The common instruments in the brass family are used in orchestras, concert bands, brass bands, jazz bands and other instrumental ensembles. The main instruments in the brass family (Trumpet, Trombone, French Horn, Euphonium, Tuba) can be taught from year 3 onwards, other than Tuba being more suitable to older (year 5-6) students due to its size. Trombones have a physical limitation because some notes are difficult to reach for children with shorter arms, but teaching methods and repertoire are able to work around this.
Trumpet and Trombone are standard in jazz ensembles; Trumpet, Trombone, French Horn and Tuba are standard in orchestras.
There are a number of other brass instruments used in Brass Bands, such as cornet, tenor horn and baritone horn. These are not standard instruments in some other ensembles but they are very close to other instruments in the family (eg. Trumpet/Cornet) and musicians can often transition between them without much trouble.

Percussion & Other

Besides classroom percussion, the percussion family has a number of options for children. One is the Drum Kit, used in rock, jazz and other forms of popular music, sometimes in concert band. Another is ‘orchestral percussion’ (or ‘band percussion’) which may cross over with Drum Kit tuition but focuses on Snare Drum and Tuned Percussion (Glockenspiel, Xylophone, etc) and may include Timpani and Auxilliary Percussion (tambourine, triangle, cymbals etc) in the school band, orchestra or percussion ensemble. There are too many other options for culturally specific or ensemble specific percussion to mention but these two options are very common in Australian schools and well suited to individual tuition.
Orchestral Percussion is suitable for children from year 3 onwards, at first this tends to focus on snare drum and glockenspiel. While a full set of orchestral percussion is quite expensive and elaborate, these instruments are affordable and quite manageable.
Drum Kit can be taught to students from year 3 onwards but it may be more productive to learn ‘Orchestral Percussion’ or even another instrument initially, then progress to Drum Kit later in primary school.

Other instruments

This article deals with the main instruments and instrument groups used in Western music, particularly orchestral instruments. Of course, there are many other instruments in the world and some may be appropriate for children. In India, for example, some children begin to learn Tabla (drums) at a very early age but this is less common in Australia.
Some classroom music activities use particular instruments that are designed for or commonly used by children, for example, handbells and Orff percussion instruments. Generally children do not take individual lessons on these instruments as they would for piano or trumpet, they are primarily a classroom/group activity.

Members

Aleksandra Acker is lecturer at RMIT University in Music Education, Language and Literacy and Inclusive Education. She is a singer with a lifelong interaction with different music genres. Her ensemble ‘Anja & Zlatna’ explores different languages and is preparing their debut CD. Influenced by programmes of Reggio Emilia she wants to see music as an integral part of mainstream curriculum, treated as one of the languages of childhood. Internationally known as a researcher, Aleksandra is co-writing a book on young children and music with her long term research.

Jason Boron – Music Teacher, Perth

Music Teacher at Presbyterian Ladies’ College and an experienced music educator who has taught classroom music; and directed choirs and instrumental ensembles in a range of schools. Currently Chair and previously vice-Chair of Australian Society for Music Education (ASME) WA Chapter. National Membership Secretary and previous Branch president of Kodály Music Education Institute of Australia (KMEIA). He is a current member of the KMEIA National Council and a Committee member for the Western Australian Orff-Schulwerk Association (WAOSA). In 2015 he will undertake intensive study in Kodály Music in Hungary.

Professor Emeritus Brian J. Caldwell is Managing Director at Educational Transformations Pty Ltd in Melbourne and Honorary Professorial Fellow at the University of Melbourne. He is Deputy Chair, Australian Curriculum, Assessment and Reporting Authority (ACARA). From 1998 to 2004 he was Dean of Education at the University of Melbourne, where he was also Head of Education Policy and Management (1995-1998). He has also been Head of Teacher Education (1988-1989) and Dean of Education (1989-1990) at the University of Tasmania. His major interests lie in leadership, governance, policy, finance, the arts and the management of transformational change in schools and school systems. He has given numerous presentations and held visiting academic appointment nationally and internationally, and is widely published. He was Chair of the Advisory Board of the Asia Education Foundation from 1998 to 2004. He was a director and then Deputy Chair of the Australian Council for Educational Research (ACER) from 2003 to 2011.

Dr Anita Collins – Assistant Professor of Music and Arts Education, University of Canberra

Dr Anita Collins is Assistant Professor of Music and Arts Education at the University of Canberra and was previously a music teacher at Canberra Grammar School. Her research interests are in how music education can enhance development and performance across many areas including nursing, management and leadership and boys education, and the new field of neuromusical research and its’ potential to inform teaching practices and advocacy. Anita is involved in the Goulburn Strings project providing music education opportunities for disadvantaged students, and hosts the Bigger Better Brains Facebook page to improve access to and understanding of neuroscientific research in music education.

Rhonda has taught more than 10,000 children, performed for Queen Elizabeth, Bill Clinton and Muhammad Ali, composed over 900 songs for children’s TV shows and established dynamic Queensland group, Viva La Musica. Rhonda has written and directed thirty children’s performances with the Queensland Symphony, Philharmonic and the VLM Orchestras. She composed the music for the 2004 Athens Olympics and the Warner Brothers’ Great Outback Spectacular, and her CDs have been distributed worldwide, one album going gold. A qualified primary school music specialist Rhonda has written national and Queensland State music Curriculum. She has lectured part-time in early childhood and music education at QUT, worked on the Music Australia’s advocacy campaign – Music. Play for Life, and coordinates music and creative arts activities for P&O Cruises.

Professor Scott Harrison is Director of Queensland Conservatorium Griffith University. Scott has experience in teaching singing and music in primary, secondary and tertiary environments, and in performance, opera and music theatre as both singer and musical director. He is a recognised leader in the research on masculinities and music with publications including Masculinities and Music (2008), Male Voices: Stories of Boys Learning through Making Music (2009) and International Perspectives on Males and Singing (2012). Scott served as President of the Australian National Associate of Teachers of Singing, and published books include Perspectives on Teaching Singing (2010) and Teaching Singing in the 21st Century (2014). Scott is co-editor of the International Journal of Music Education, recipient of an Australian Award for University Teaching and a Fellow of the Australian Government’s Office for Learning and Teaching.

Dr Helen Lancaster – Music Educator and Consultant, Brisbane

Dr Helen Lancaster has an established background of leading cultural initiatives in regional and metropolitan settings. With a significant research background in cultural policy, particularly in exploring arts leadership and the conservatorium culture, Helen has been Executive Manager and Research Fellow at Queensland Conservatorium Griffith University, Past chair of Music Australia and is an experienced cultural policy and higher education consultant and music educator. Helen is currently Deputy Chair of the Australian Academic Board of School of Audio Engineering (SAE) Creative Media Institute, part of the NAVITAS group.

Ian Harvey – Music Educator and Consultant, Melbourne

Ian Harvey has a 25-year history in the Australian music industry and music education. He is Director of music consultancy Morton Group, was Executive Officer Australian Music Association, and Chief Operating Officer of music college Collarts. Ian was Treasurer Music Australia where he created the successful music advocacy program Music. Play for Life and designed the Music: Count Us In program, the world’s largest school music participation program. Ian is a previous Chair of the International Music Industry Coalition and Deputy Chair of the government’s Music Education Advisory Group. He convenes the Australian Wireless Audio Group for the Australian Commercial and Entertainment Technologies Association, and is a Director of the Musical Futures program.

Jane Law has been a primary school principal, music consultant, school education director and senior curriculum advisor for the NSW Department of Education and Communities. From 2008 – 2011 Jane conducted video conferencing professional development for Music: Count Us In. She has led music curriculum implementation at primary and secondary schools and served as NSW Vice President of the Primary Principal’s Association. Jane is now working as a music educator and researcher. One of Jane’s current projects, for University of the Third Age, involves teaching a group of women who have limited musical experience, to improvise and perform their own compositions.

Margie Moore OAM – Education Consultant, NSW

Margie Moore has extensive experience as an Arts, Education and Music educator and administrator. She has had successful careers as a teacher, Music consultant, Lecturer in Arts Education and managing the highly regarded Sydney Symphony Education Program. Most recently she has worked for the Australia Council for the Arts, Australian Chamber Orchestra, Moorambilla Voices, Musica Viva, NSW Department of Education and Training, UTS, Symphony Services International, and Sydney Opera House. In January 2011, Margie was awarded an Order of Australia Medal for her services to Arts through Music Education.

Peter Mousaferiadis – CEO, Cultural Infusion, Melbourne

Peter Mousaferiadis is a creative and music director, conductor, and producer and has directed large scale intercultural concerts and ceremonies throughout Australia, China, the Philippines and Malaysia for clients including the United Nations, Council for a Parliament of the World’s Religions, United Religious Initiative, and produced Victoria’s Australia Day Concert (2004 to 2013). Peter is founder of Cultural Infusion, an internationally recognised organisation building intercultural contact and harmony through sustainable arts and engagement programs in communities and schools. In 2013, Peter received the United Nations Intercultural Innovation Award.

Mike Tyler has been a secondary music and instrumental music teacher, instrumental music adviser and State Coordinator of Instrumental Music, and is currently with Education Queensland. Mike has lectured part-time at the University of Queensland in woodwind, brass and percussion techniques, conducting and instrumental pedagogy, is a member of the University’s Faculty of Arts Board of Studies and a Director of the Lev Vlassenko Piano Competition and Festival. He has been Chair of Australian Music Examinations Board’s (AMEB) Queensland Advisory Committee and Director of AMEB Ltd, where he is currently Chair.

Music Industry and Careers Advisory Group

Chair

Professor Dawn Bennett is Distinguished Research Fellow and Director of the Creative Workforce Initiative with Curtin University, Australia. Her recent research has focused on identity development, employability, graduate transition and creative labour markets, with a particular focus on the impact of identity development on higher education learning. A professional violist, Dawn serves on numerous editorial boards and she convenes the Australian Learning and Teaching Fellows’ network. She is on the board of directors for the International Society for Music Education and Music Australia, and serves as a commissioner with the ISME Commission for Education of the Professional Musician.

Members

Scott Adam – Central Institute of Technology, Perth

Scott has been working in the WA music industry for 21 years as an educator, panellist, label manager, artist manager, tour manager, venue booking agent, project manager, arts organisation administrator and occasional music writer. Scott started WA’s first music business qualification at the Central Institute of Technology’s Centre for Music Industry Training (CMIT), where he coordinates a team of fourmusic business lecturers, and has established student internship and placement programs and extensive industry partnerships. Previously Scott headed up Qstik Records & Management, providing distribution, marketing and touring networks for WA artists including successful WA act The Panda Band.

Kirsty Brown –Executive Officer, MusicNSW, Sydney

Kirsty Brown is the Executive Officer of MusicNSW, the peak body for contemporary music in NSW, and a member of Australian Music Industry Network (AMIN). Kirsty comes from a background in music journalism and festival events, and is the former Managing Editor of street press The Brag, which she called home for 4 years, while editing the annual Big Day Out program and contributing to magazines like Rolling Stone and Demo. Kirsty has worked across such festivals as Flickerfest International Short Film Festival, Big Day Out, This Is Not Art and most recently, as the Co-director and General Manager of Sound Summit.

David Grice –Managing Director, Musictec Pty Ltd, Adelaide

David has 25 years’ experience in the music and entertainment industry as a musician, studio engineer, successful studio owner, University lecturer, venue manager and creator of The Depot. He has been recently appointed Managing Director of Musictec Pty Ltd, SA’s new music industry cluster organisation. Previously he was General Manager of Music SA, the state’s contemporary music industry body. David’s successful ventures including The Fab Four (Internationally Recognised Beatles Tribute Band) 1990, Fat Trax Studios (leading Adelaide recording studio) 1998 – 2006, LooknLearn (on line instructional guitar tuition website), and in 2012 – 13 the Depot – a 2013 Adelaide Fringe success story, and now Musitec.

Andy’s childhood dream of being a performer led her to work in the Arts and develop her passion for live performance. Andy has worked with various arts organisations and was previously Marketing Manager at Arts on Tour NSW and executive coordinator for the INAPAC (NSW & ACT Performing Arts Centres) Marketing Managers network. When not at work, Andy sings in a choir and likes to get out to see live music.

About Music Australia

Music Australia is the only organisation in Australia devoted to music in its entirety. We are a 50-member national umbrella body with activities spanning education, community and the professional industry. We deliver campaigns, information, resources, sector networking, community engagement, a national school music participation program, and demonstration projects.